At least Ridevall's account was incorporated into the popular early fourteenth-century Latin universal history of the English Benedictine, Ranulph Higden, whose work was translated into English by John Trevisa in 1387; in turn, Chaucer's Legend of Lucrece
almost certainly draws on Higden's or Ridevall's version.
As Tarquin she wears her long black hair up and a black gown, which she removes to reveal a simple white shift dress and shakes her hair loose, when playing Lucrece
Thus, for example, if, as Cheney convincingly argues, Shakespeare's Lucrece
"emerges as a Philomela figure associated with Orphic power" (2004, 130), we have a more striking answer to Cheney's own question than the one he provides: "What ...
He tries to stop a man he sees climbing out of the window of Mme Lucrece
(Andre's wife) and is wounded.
Though less matronly and articulate than Lucrece
, less queenly and auto-erotic than Cleopatra, Juliet, too, may achieve her own dignity and autonomy in death, bringing about her escape with an implement that is domestic rather than military.
Tepid comments on such works as Medwall's Fulgens and Lucrece
and Nature, Udall's Roister Doister, Gager's Susanna, Gorboduc, and Gammer Gurton's Needle often came close to sounding donnishly patronizing.
After many years of translating and adapting plays--including Ring Round the Moon (produced 1950; adapted from Jean Anouilh's L'Invitation au chateau), Duel of Angels (produced 1958; adapted from Jean Giraudoux's Pour Lucrece
), and Peer Gynt (produced 1970; based on Johan Fillinger's translation of Henrik Ibsen's play)--Fry wrote A Yard of Sun, which was produced in 1970.
There follow nine short narratives, modeled on stories by Vergil and Ovid , about women who suffered or died because they were faithful in love and (except for the first two stories) because men were treacherous: Cleopatra ; Thisbe (see Pyramus ); Dido ; Hypsipyle and Medea , both betrayed by Jason ; Lucrece
; Ariadne ; Philomela ; Phyllis, betrayed by Demophon; and Hypermnestra.
What does it mean when Thomas Heywood's raped Lucrece
upbraids the gods for permitting the 'inhuman massacre' of her 'harmless virtue'?
An especially good example of this is the concluding section of chapter 2, which positions Lucrece
alongside Orpheus, Philomela, and Hecuba, Ovidian figures who likewise "straddle the boundary between music and meaningless sound" (66).